Please Fix the audio routing

So why change how it works to match ProTools?

Because it's the audio-post industry standard.

I am in favor of doing things in a 'standard' way. That's why I hate Macs so much. Windows is the de facto 'standard' OS on the planet. Macs do things differently. Not better, just different. And that's frustrating.

But I guess that's the threshold here. Is Fairlight 'better' than the standard when it comes to Film & TV post?

I don't know.

Also, who would be qualified to provide those opinions?

I would think someone with sufficient experience using both programs.

It sounds like Henchman is lacking in one, so he might not be qualified.

Also, who would be qualified to provide those opinions?

I would think someone with sufficient experience using both programs.

It sounds like Henchman is lacking in one, so he might not be qualified.

I owned and operated 4 Fairlights.
I've used numerous DAWS and workstations throughout the years.

Did you miss the part where someone else questioned my experience?

In the last 35 years I've worked in Live sound, A list studios like The Record Plant in Sausalito, various audio post production studios, including building and owning my own.
I've used SSL's, Synclavier Post Pro's, DAR and owned 4 actual fairlights.
I've used Logic, Logic Audio, Logic Pro, Cubase, Nuendo, SAW, Samplitude and of course Pro Tools.
I've used FCP, FCPX, Avid Express, Avid Media Composer, Premiere and Now Davinci.
I've been nominated for numerous awards, have a platinum record and have an Emmy.

Ever done ADR using a Postpro?

Maybe some of the other folks would like to post THEIR 35 years of professional experience.

And still waiting for someone to show me how to simply route the beeps to the main output without losing tracks being sent there as well.

Also, who would be qualified to provide those opinions?

I would think someone with sufficient experience using both programs.

It sounds like Henchman is lacking in one, so he might not be qualified.

I'm getting the feeling that in order for it to "sound like" someone is qualified they'd basically have to say what you say.

Btw, if that's not enough experience, I studied electronics and had a 2 year apprenticeship at Fokker in The Netherlands, where I we studied blueprints, and airplane metalwork design.
I built airplane parts.

I'm a pretty technical guy, and am pretty well versed in signal flow.

Anything else?

Mark, i thought i had typed your name into a credit roll at some point.. went through your IMDB, it was 15 years ago..... impressive list there

Mark, i thought i had typed your name into a credit roll at some point.. went through your IMDB, it was 15 years ago..... impressive list there

Yes, I was living in Vancouver, working at Post Modern sound at the time.

IMO "Make it like Pro Tools" is not the answer here. Not because I'm tied to the way it is now. This is one area where many PT users want an improvement. The way it works in PT was great 20 years ago but is inadequate now with so many multichannel busses and various deliverables.

We do that everyday in Pro Tools.

Mark, I also use Pro Tools every day. We've never met but we've been on the same threads on the DUC and Gearslutz. There are others that agree that PT really needs a way to view all routing at once.

Regarding your beep, are you talking a 2pop or ADR beeps?

IMO "Make it like Pro Tools" is not the answer here. Not because I'm tied to the way it is now. This is one area where many PT users want an improvement. The way it works in PT was great 20 years ago but is inadequate now with so many multichannel busses and various deliverables.

We do that everyday in Pro Tools.

Mark, I also use Pro Tools every day. We've never met but we've been on the same threads on the DUC and Gearslutz. There are others that agree that PT really needs a way to view all routing at once.

Regarding your beep, are you talking a 2pop or ADR beeps?

ADR beeps from the tone generator page.

and i want you to be happy with the tools you have, i can see the use for the flexibality that comes with the complexity that defines the audio routeing currently....

and you must be able to understand that same flexibality is not a good thing from where i stand as it leads to many points of failure and offers nothing in return

the best answer would be to place the track router from v12 back in the timeline, with a toggle to send the noize to the audio page, or bypass the audio page entirely and use the "classic' matrix

the software is filled with legacy tools already, that works well in pratice, i have zero use for "legacy log curves" for example, but they still exist in the software with a toggle

the track router is one legacy tool that needs to return ASAP

I think we're in agreement here. The question for BMD is wil they allow you to ignore or "turn off" the Fairlight page so you can do everything in the edit page. Like you said a simple toggle would be sufficient. Most editors I know don't care about busses and routing just like I don't care about LUTs.

ADR beeps from the tone generator page.

OK so as far as I know you need to create a track for the beeps. You'll basically be creating the equivalent of an Aux track in PT. Create a new track and go to the Patch window. Patch the Oscillator on the left to the new track input on the right. Now in the mixer you set the input mode to Thru. I believe in the Path settings. Also I like to Solo Safe this track.

Now you can assign this track to whatever busses you need. Main, headphone send, whatever.

It is a lot of steps. It's easy to get in the flow once you have the hang of it. IIRC Nuendo is also a little complicated to set up and PT certainly is if you're using a 3rd party tool. Legacy Fairlight had "Live tracks" which were exactly like Aux tracks with no additional steps. I have templates so I only needed to set it up once.

I'd say BMD should automate this process. Since they're providing a specialized tool for ADR there's no reason it couldn't add a beep track with one click.

I'd say BMD should automate this process. Since they're providing a specialized tool for ADR there's no reason it couldn't add a beep track with one click.

Exactly my point.

Also, if you are assigning something somewhere, that's going to disconnect whatever is assigned there already, there should be a warning pop up.

This is all covered clearly and extensively in the DaVinci Resolve 15.3 User Manual
(Page 2473 | Chapter 127 ADR (Automated Dialog Replacement).

Global Track Presets provide a shortcut to adding a Beeps Track, as do Full Console Presets.

You want to know how many times I had to read a manual for pretty much any console or DAW to route something?

Zero.

You know why?

Because it was logical.

(Save for the original logic audio, which also was a frigging nightmare).

And again. If you patch something somewhere, there better be a warning an existing connection is being broken.

Also Patrick, it's clear you had no idea how to do it, as you clearly had to look it up in the manual.
Hence why you quoted the exact page and chapter.


Hmmmm.....

Who is Patrick?

Also Patrick, it's clear you had no idea how to do it, as you clearly had to look it up in the manual.
Hence why you quoted the exact page and chapter.


Hmmmm.....

That kind of logic belongs in the playground. When teaching people on the forums, if I want them to read about something in the manual I always make sure that the information really is in the manual, otherwise I'd only end up looking foolish. It's part of being diligent.

I don't know how quoting an exact page and chapter for something correlates with your level of knowledge about a topic, perhaps you can enlighten me? It sounds like he actually did that to make sure you read the relevant information he was referring to.

I don't know how quoting an exact page and chapter for something correlates with your level of knowledge about a topic, perhaps you can enlighten me? It sounds like he actually did that to make sure you read the relevant information he was referring to.

Don't use logic when dealing with an illogical person!

Now, if someone can kindly tell me how to quite simply route the beeps to my main outputs, without losing that output for my other tracks.

Try :
viewtopic.php?f=21&t=88551&p=494265&hilit=noise#p494265

it was for noise but for the beep: you just have to change the generator.

This is all covered clearly and extensively in the DaVinci Resolve 15.3 User Manual
(Page 2473 | Chapter 127 ADR (Automated Dialog Replacement).

Global Track Presets provide a shortcut to adding a Beeps Track, as do Full Console Presets.

I haven't checked, do the track presets recall I/O?

I don't have an answer for the issues people are having with the patching and bus assignment. Even if you have to skim the manual I think it makes sense one you see it. If I didn't know already I'd have to check the manual for PT to learn how to route multiple tracks to the same bus at once.

The only valid suggestion I've seen here is a matrix/grid window which would not be a bad thing. Although the current scheme makes more sense with the control surfaces they want to sell. Make your voice known to the devs.

This is all covered clearly and extensively in the DaVinci Resolve 15.3 User Manual
(Page 2473 | Chapter 127 ADR (Automated Dialog Replacement).

Global Track Presets provide a shortcut to adding a Beeps Track, as do Full Console Presets.

I haven't checked, do the track presets recall I/O?

I don't have an answer for the issues people are having with the patching and bus assignment. Even if you have to skim the manual I think it makes sense one you see it. If I didn't know already I'd have to check the manual for PT to learn how to route multiple tracks to the same bus at once.

The only valid suggestion I've seen here is a matrix/grid window which would not be a bad thing. Although the current scheme makes more sense with the control surfaces they want to sell. Make your voice known to the devs.

And in protools, an existing connection isn't simply overwritten if you try and assign something else to it.

I haven't checked, do the track presets recall I/O?

Yes, Global Track Presets used for individual Beeps, ADR and Dub Record Tracks where required in session, and Full Console Presets recalled for ADR, Dubs, Dialogue Editing, et cetera.

All Patching, Routing and Layouts predefined.

Another person with audio patching issues in Resolve. viewtopic.php?f=21&t=89963

It isn’t likely that neither DaVinci Resolve nor the Fairlight page are going to become something completely different from what they are now in order to emulate the workflow of other software.
On the other hand, Blackmagic Design team and developing engineers are very attentive to users’ feedback.
So, a couple of (hopefully constructive) suggestion:

To BMD team:
Please make a video tutorial for working with the Fairlight page (and also to the Fusion page and the new Cut page in DR 16).

To all users:
It looks like suggestion for changes in the current DR pages and additional desired features are going to be much more constructive then indicating the differences in DR workflow and options compared to other software.

To BMD team: Please make a video tutorial for working with the Fairlight page (and also to the Fusion page and the new Cut page in DR 16).

Don't know if this is what you're looking for, they are for DR15.

Fairlight Audio Production Part 1:

Fairlight Audio Production Part 2:

Blackmagic also provide a free "Introduction to Fairlight Audio Post with DaVinci Resolve 15" Guide in PDF format.

The Fairlight Audio Production Part 1 and Part 2 videos embedded by Terrance above, are also available from the dedicated Resolve Training page, with associated Project Files:
https://www.blackmagicdesign.com/produc ... e/training

A direct link to the Resolve Training page is also available from Resolve's Help Menu.

Thanks, Terrance and Reynaud. I missed those tutorials ...

last week i had a filmmaker bring me a short film as a DRP, i was going to screen on my callibrated / big monitor, do any last tweaks and make a DCP

he had the audio routed useing information from this site

it was a fail... total fail all 6ch muxed into an overloaded mono track 1 and trk 2->5 MoS

now this particular filmmaker has a day job,, he's a DiT on a huge American TV show, top rated prime time TV show... so not really tech challenged atall, but he does not use Resolve in his day job

that he could not get the mix routed from media pool to deliver with all his skills + the instructions from the well meaning folks here points to software that is incredably bad at the simple task of routeing cleanly with zero fail points, very poor inaccurate and just plan bad documentation only adds fuel to the fire

it needs the v12.5 matrix brought back, it is just not reliable or transparent as it stands

but with so many fails, it's not the operator causeing this

btw, on that short film i used another software to add the audio and create the DCP, that software has simple, clear, straightforward track routeing

then it was no problem

Was that "software" (SIC) VEGAS? If so, which version number. If not, what was it (name and version please)

Sent from my P00I using Tapatalk

Perhaps they are, but companies rarely prosper by upbraiding their customers for being close-minded. Positions which appeal to forum members may not do as well for the sales department.

In my eyes its no different than getting a new car from a different manufacture than you're used to. The owner has to adapt, as the manufacture can't customize the product for everyone's personal likes.

• The hood and fuel release might be in a different spot
• The gas cap might be on the other side of the car
• The seats and steering column might adjust differently
• The on board computer might have a completely different interface

Not to mention it's 2019 and technology is advancing faster than ever. Regardless of what someones filed or experience level is, they need to be continually learning or they risk becoming that person who can't figure out how to use the VCR.

Worst analogy ever.

But that "VCR" tossed in for good measure sure gave me a hearty *laugh!*

Sent from my P00I using Tapatalk

The audio routing page in Fairlight is the most convoluted, non sensical design I've ever seen.
I've been working in audio for 35 years. And I've just spent an hour trying to figure out how to simply route beeps and audio out of the same output.

I love the picture side of Davinci.
But the audio side is un-necessarily complicated.

Not questioning your impressive resume, but, come on... As a seasoned pro, your input of "convoluted, non sensical design" lacks detailed information which could help the developers of DR with future updates... I'm sure providing a detailed breakdown of much needed features would conflict with what I can only assume is a hectic schedule for you. That said, just such a breakdown would be a beneficial to BMD and it's users.

+1

Sent from my P00I using Tapatalk

Also it sounds like at least one of the posts here refers to the Deliver page which is an altogether different issue right?

Will:
unfortunatly not... my task to to take a mix from a really good facility, put it on a timeline and export it
without changeing anything
without fail everytime
under craaaazyass deadlines

I definitely understand that type of deadline and I agree editors need to be able to have a "hands-off" layback process. I think most mixers would agree with me that we don't want any points of failure after we hand off the mix. I've seen plenty of Premiere outputs in mono instead of stereo or with wrong channel assignments. I don't have any insight into BMD's plan here. With an all-in-one package do they want a demarcation between pages or should functions be equivalent across the board? I know I'd rather Fairlight function in an audio friendly way than be tied to NLE paradigms.

Maybe BMD needs to give thoughtful consideration to implementing yet another audio tab "SoundEDIT I/O" page that's both stems-import friendly and features I/O and buss routing that's matrix-based -- just as the EDIT page has its alternate CUT page.

Sent from my P00I using Tapatalk

btw, on that short film i used another software to add the audio and create the DCP, that software has simple, clear, straightforward track routeing

then it was no problem

Was that "software" (SIC) VEGAS? If so, which version number. If not, what was it (name and version please)

Sent from my P00I using Tapatalk

we used DCP-0-Matic to wrap the picure and audio, write the XML ect...
the audio was routed / cut to length and rendered to 6x wave in Avid|DS v11.1
the image seq was rendered in Resolve to jpeg2000@DCi2k flat

three softwares in play, each doing what they were asked to do, and doing it well

btw, on that short film i used another software to add the audio and create the DCP, that software has simple, clear, straightforward track routeing

then it was no problem

Was that "software" (SIC) VEGAS? If so, which version number. If not, what was it (name and version please)

Sent from my P00I using Tapatalk

we used DCP-0-Matic to wrap the picure and audio, write the XML ect...
the audio was routed / cut to length and rendered to 6x wave in Avid|DS v11.1
the image seq was rendered in Resolve to jpeg2000@DCi2k flat

three softwares in play, each doing what they were asked to do, and doing it well

Gotcha'!

Sent from my P00I using Tapatalk